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Founded In Naples, Italy, In The 1970s, Collezionetaurisano Is An International Contemporary Art Collection Gathering Artworks By Italian, European And International Artists.
Today,collezionetaurisano Is Both An Art Platform And An Affective Community. It Distinguishes Itself By Its Defense Of Humanist Values And Esthetics Of Resistance.
The Collection Favors Commitment In Artistic Practices, By Thinking And Fighting Against New Conditions Of Domination At The Time Of Post-capitalism. We Do Not Set The Artwork Against The Life Of Art. We Do Not Think That The Artwork Is Besides Isolated From The Social World. We Believe In Responsibility. We Believe In The Attention We Pay To The Others.
01Artist of the month

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Marco Giordano

Selected solo exhibition: My Mouth in Your Mind, Frutta Gallery, Rome (ITA) 2019; Suono Nudo, Tarsia, Naples (ITA) 2019; Conjunctive Tissue 3, Dimora Oz (Collateral Event Manifesta 12), Palermo (ITA) 2018; I’m Nobody! How are you?, Glasgow International, Glasgow (UK) 2018; Conjunctive Tissue 2, Lily Brooke, London (UK) 2018; Pathetic Fallacy, Il Coloricio, Milan (ITA) 2017; Self-Fullling-Ego, Jupiter Artland, Edinburgh (UK) 2017; Cutis, Glasgow Project Room, Glasgow (UK) 2017; Asnatureintended, Frutta Gallery, Rome (ITA) 2016; Marco Giordano / Gabriella Boyd, House for an Art Lover, Glasgow (UK) 2016.

Selected group exhibition: Savage, Otto Zoo Gallery, Milan (ITA) 2019; Teatrum Botanicum, Parco Arte Vivente, Turin (ITA) 2019; Living in Imagination, Galeria Wozownia, Torun (PL) 2019; Flashing and Flashing, Maxxi, Rome (ITA) 2019; Open Out, Fruitmarket Gallery, Edinburgh (UK) 2019; That’s IT!, MAMbo, Bologna (ITA) 2018; Jacana’s Frontal Shield or Frontal as Shields Are Frontal, The Workbench International, Milan (ITA) 2018; HOHOHO, Frutta Gallery, Roma (ITA) 2017; I scream, You scream, we all scream for ice cream, Fondazione Baruchello (ITA) Roma 2017; The Gap Between the Fridge and the Cooker, The Modern Institute, Glasgow (UK) 2017. Pubblications: Self-Fullling-Ego, Jupiter Artland, Edinburgh (UK) 2018 Awards: i9 Prize ArtVerona (ITA) 2018

MY MOUTH IN YOUR MIND (2019)

FRUTTA GALLERY, ROME

Modules of acoustic foam panels cover the gallery’s walls, turning the space in a recording room. Five shells (Mouth, 2019) are underpinned by black metal stands, looming up at the centre of the space. Jets of foam leak fitfully out from their apertures. Assuming the oxymoronic identity of living inorganic bodies, the shells assemble a chorus that sing songs concerning sexuality, perception, being non-humans in a word regulated by human agency. Their language is incomprehensible since it is expressed through foam and soap bubbles that burst, fall to the ground and reform themselves. Black plexiglas wall pieces are encrusted on the soft material of the acoustic panels. Phrases are those pronounced by the shells, inaccessible for human ears but here translated in six songs – part of an album – that has been played by a performer Eleonora Gusmano during the opening night.

Text by Vincenzo Di Rosa

“Giordano establishes his practice in this opaque area, he forgets himself and blurs into the relationship: the Aida is his true medium, the ‘between’ is the field of action in which he carries out his practice. It is a realm of in-progress grammar, never codified, always in-situation, which defines the artist’s work based on an exogamic principle: affected by a congenital need to be rooted outside of themselves, his works are modeled by a performative logic. Hybrid entities, with a heterogeneous character, they preserve the contradictions and disagreements of the opaque zone that saw their birth.”

SUONO NUDO (2019)TARSIA, NAPLES

Eight ceramic sculptures hint at phallic, vaginal and anal forms. They are dangling from the ceiling on thin chains with small, black bells hanging at their base. The genital profiles, with their sleek and polished surfaces as though design objects, remind dildos relegated to private erotism. Parallely the sculptures recall the ancient tintinnabula of Roman period. Between the phallic forms and the little bells, the tintinnabula has the function of a proto-alarm, warding off the misfortunes of the places where they are installed. These original attributes are reworked in favour of an erotic occupation of an audio-visual space.

Text by Giulia Gregnanin

“The dildo is a universal erotic tool which stimulates and penetrates any orifice and breaks with the phallocentric and heteronormative system that conceives the encounter between penis and vagina as the only tolerated sexual act, argued Paul B. Preciado in his Countersexual Manifesto. The dildo is “mechanic, non-violent, silent, bright, slick, transparent, ultra-clean, safe”. It is a simulation and an inauthentic, whose independence from the human makes it a technology of resistance towards the regulatory structures that control the bodies.”

I’M NOBODY! HOW ARE YOU? (2018) GLASGOW INTERNATIONAL

I’m Nobody How are you? is performative itinerant work that I presented at Glasgow International 2018. The performance consisted in driving a car throughout the city, broadcasting a poem written by me. A megaphone installed on the car’s roof emitted recorded voices of two local poets as they read the text. The poem is inspired by I’m Nobody! Who are you? by Emily Dickinson and deals with the boundaries between being nobody and somebody, private and public.The poem was also printed on flyers which I handed out to pedestrians encounters on the ride.

Text by Giulia Gregnanin

“Recalling the tools and the imaginary associated with propaganda, the artist puts forward the proposal of a countermovement: an “anti- propaganda,” where the vulnerability behind being in the public is unveiled, and where there is nobody left to persuade. The polis—not only in physical space but also in the public realm of a political community, according to Hannah Arendt—is the platform upon which the action is carried out: an open space free from the regularization and exclusivity of many indoor art spaces. Driving across the city, Giordano seeks to reach his public so as to invert the classic itinerary of the artistic pilgrimage that sees the public moves towards the art event.”

 

CONJUNCTIVE TISSUE (2018) KAOZ, PALERMO (MANIFESTA 12 COLLATERAL)

Conjunctive Tissue has been held in July 2018 in Palermo, as part of Manifesta’s collateral events. I realised a banner that covered the whole building’s facade showing the phrase: “tra un sorso e un sorso, in una bocca piena” [“between a sip and a sip, in a full mouth”]. This short statement is a consideration on the interstice – a space of transition that lies between fullness and emptiness.

Text by Giulia Colletti

“There is no such thing as an “instant”. Coordinates of time in a system are generally given by a real number. If you want to make calculations, this is reasonable. In philosophical terms though, there is no reason to adopt a notion such as an instant, which is a single point in time. At least, this is claimed by Peter Lynds, a theorist from New Zeland who has shocked the world of physics in 2003 with his controversial theory of time. Speculating from the intersection between philosophy and physics, he claims that there is no “now”, rather just a sequence of events. Peter Lynds posi- tions his theory at the interstices formed by quantum mechanics: can time be separated into in nitesimal parts? No, reality is a temporal continuity. Just like having a sip of water. According to Lynds, human perception of time is just a neurological illusion, an effect of our brain perceiving reality.”

SELF FULFILLING EGO (2017) JUPITER ARTLAND, EDINBURGH

Self Fulfilling Ego is a processual work commissioned by the Emerging Artist Programme at Jupiter Artland. It stemmed from the selffulfilling prophecy, a socio-psychological phenomenon through which an originally false expectation leads to its own confirmation. I applied the four phases of the prophecy (belif, thoughts, behaviour, result) to a processual action. I asked to some amateur painters to portray the sculpture park’s owners while they were reading The White Bird (1985) by John Berger. In that case the drawings were the starting point of a series of sculptures representing body fragments, that were connected with a mist system triggered by the visitors using a motion sensor. In this way the work is an act of negotiation that elucidates the encounter with the other, and the relation that has been generated is an interstice more productive than the final result.

Text by Martha Kirszenbaum

“In 1962, French ethnologist and anthropologist Claude Lévi-Strauss analyses the notion of “totemism” in his eponymous essay of the same title. Arguing that “totemism” is in fact an illusionary anthropological construction, Lévi-Strauss shifts from an approach focusing on the alleged universal features of totemic cults, toward the structural analysis of classification properties and dualist organisations, and proposes a system of relations divided between nature/ culture and individuals/group. In a comparable approach, ontological classification appears at the core of Marco Giordano’s project, as he seems to define and assemble them on the basis of which part of the face they suggest.”

PATHETIC FALLACY (2017) IL COLORIFICIO, MILAN

A violet film filters the sunlight which enters inside. Some LED plantation lights illuminate the exhibition space, with a light shade which is, as well, mostly violet. These lights are employed in greenhouses to phase the plants’ growth according to distributors’ and consumers’ aesthetic desires. Five long silicon strings titled Duuuude links the floor to the ceiling, moved by a hidden force according to the rhythm of unknown sequences. Each string is put into action by an Arduino. Due to its high percentage of inorganic material, silicone is not substantially affected by the variations in the space’s lighting.

Text by Stefano Collicelli Cagol

“No longer solely connected to trauma, the reflection on reality in relation to the abject seems to refer to a more subtle psychological aspect: to the everyday pressure caused by the sensual regime, by the perpetual state of excitement of our potentia gaudendi – as foreseen by Paul B. Preciado – the pleasure our bodies can experience. Giordano doesn’t limit himself to making visible what is invisible but uses the available technology and the exhibition as a space that institutionalizes the aesthetics of certain social and economic practices.”

CUTIS (2017) PROJECT ROOM, GLASGOW

Except for the ceiling, the space as a whole is enveloped by a transparent film, changed into blue, a material usually employed to protect glass during transportation. An electric cable crosses the room, touching all the architectural elements of the space and activating a light as soon as a visitor walks into the exhibition.

ASNATUREINTENDED (2016) FRUTTA GALLERY, ROME

Focusing on the idea of spontaneity between artificial and natural. I invited acquaintances into my studio to portrait me, by modelling clay (the people invited had not experience of the technique, taking an spontaneous approach with the material). Then I transformed the sculptures in vases placing weeds (plants growing spontaneously around the city) that I found in the ground around the gallery.

Text by Antonia Alampi

“The image on the invitation could act as a deterrent. The cult of domesticated nature (whether Chinese or Japanese, here in the form of a Buddha-pear coated in red) doesn’t want to assume any recognizable cultural guise. It wants to introduce something else. Because images, and not only Marco’s, always want something. They could be saying, for instance, that the effect of humanity over nature is so influential and by now so definitive that a new geological era is to be announced. They could be announcing: Ladies and Gentlemen the Holocene, the era we are ac- customed to since 11.700 years, is over. Over! Over to make way for the Anthropocene through the fine particles of radioactive waste breaking up into the atmosphere thanks to nuclear bombing tests and to impossible stockings, via the chocking seas due to oceans of plastic, among the dust of billions of chicken (bones) dramatically bred in industrial batches.”

WHATDOWEDOWE (2016) HOUSE FOR AN ART LOVER, GLASGOW INTERNATIONAL

Dual installation (outdoor/indoor) composed by an ear and a pineapple both plugged to a timer with water squirting continuously during the first minute of every hour. Pineapple is a symbol of richness and hospitality, hard to obtain in the colonial period and for this reason putted at the entrance of the houses. The function of the ear is symbolically inverted: instead of receiving messages, it is ejecting something (in this case a fluid).

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Protestors gathered outside Warsaw‘s National Museum and ate bananas to protest against what they called government censorship, after an artwork featuring the fruit was removed under claims it was improper.

The 1973 video installation Consumer Art, by Natalia LL, depicts a young woman eating the fruit. It had been a part of the National Museum’s display for many years, but was removed last week after the new museum head, Jerzy Miziolek, was summoned to the Ministry of Culture.

Artists and opposition politicians supported the protest by posting images of themselves eating bananas. Actress Magdalena Cielecka posed for a photo where she pointed a banana at her head like a gun, telling the Associated Press: “An artist, to create, must be free.”

Another 2005 video, by Katarzyna Kozyra, showing a woman walking two men, dressed as dogs, on a lead, was also removed.

Mr Miziolek, who was appointed by the right-wing government last November, told the Onet.pl portal that he was “opposed to showing works that could irritate sensitive young people” and suggested there had been visitor complaints.

He said he appreciated the role of both artists in Polish culture, but that the gallery’s limited space required “creative changes” to its displays.

On Monday, Mr Miziolek announced that the works would be reinstated, but only until 6 May, when the whole museum was due for reorganisation. He denied that there was any pressure on the museum to return the artworks.

Culture Minister Piotr Glinski has faced repeated criticism in the past, including for cutting subsidies to art festivals that planned to show controversial plays with Catholic themes, firing a popular theatre director who criticised him, and firing the director of a World War II museum under claims its displays did not show Poland’s suffering or heroism enough.

 

Leonardo-mania is sweeping the world as we enter the 500th anniversary year of the Renaissance master’s death. As museums around the world are preparing blockbuster exhibitions to coincide with the milestone anniversary, insights into the artist’s life and practice have begun to surface left and right, from his ambidexterity to his rendering of the “nude Mona Lisa.”

The latest discovery, revealed on Wednesday by the Royal Collection Trust, is not a work by the master but a work depicting him. Martin Clayton, head of prints and drawings at the Royal Collection Trust, identified a drawing in its holdings as a portrait of Leonardo most likely executed by one of his assistants. There is only one other known portraitof the artist made during his lifetime.

The casual sketch was drafted on a piece of paper also containing a study by Leonardo of a horse’s leg done in preparation for an equestrian monument. The only other known portrait of Leonardo is a far more austere and impersonal rendering drawn by one of his pupils, Francesco Melzi, at roughly the same time as the newly discovered sketch. The contrast between the two works makes this rendering, which provides a personal and private glimpse into the artist, all the more insightful.

A sketch of Leonardo da Vinci, the head of a youth, and a horse's legs, and A portrait of Leonardo, attributed to Francesco Melzi, in the Print Room, Windsor Castle. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2019.

A sketch of Leonardo da Vinci, the head of a youth, and a horse's legs, and A portrait of Leonardo, attributed to Francesco Melzi, in the Print Room, Windsor Castle. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2019.

In a statement, Clayton said:

Alongside Melzi’s portrait, this is the only other contemporary likeness of Leonardo. In the sketch, he is aged about 65 and appears a little melancholy and world-weary. However, the presence of the portrait alongside studies for another grand equestrian monument shows that Leonardo’s ambitions remained undimmed in later life.

Clayton also noted how the exceptional nature of Leonardo’s facial hair was key in identifying the artist. Stopping just shy of crediting him with a contemporaneous resurgence in beards’ popularity, he said: “Leonardo was renowned for his well-kept and luxuriant beard, at a time when relatively few men were bearded—though the beard was rapidly coming into fashion at this time.”

The image is believed to have been drawn shortly before Leonardo’s death in 1519. It will be displayed for the first time in a show titled “Leonardo da Vinci: A Life In Drawing,” which will run from May 24th to October 13th at the Queen’s Gallery at Buckingham Palace

Further Reading: 6 Things You Don’t Know about Leonardo da Vinci

A sketch of Leonardo, the head of a youth, and a horse's legs, ca. 1517–18. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2019.

#TURNERPRIZE

One of the best known prizes for visual arts in the world, Turner Prize 2019 is coming to Turner Contemporary.

Every other year, the prize leaves Tate Britain and is presented at a venue outside London. Four of the most exciting artists working right now are shortlisted to win the prize based on an outstanding exhibition that has taken place in the previous year.

This year’s shortlisted artists, are:

LAWRENCE ABU HAMDAN

For his solo exhibition Earwitness Theatre at Chisenhale, and for the video installation Walled Unwalled and performance After SFX at Tate Modern, London. Self-proclaimed ‘private ear’, Abu Hamdan’s work investigates crimes that have been heard and not seen; exploring the processes of reconstruction, the complexity of memory and language as well as the urgency of human rights and advocacy. The jury was struck by Abu Hamdan’s exploration of sound as an architectural element and the way he recreates particular situations through sound and performance.

HELEN CAMMOCK

For her solo exhibition The Long Note at Void, Derry~Londonderry and IMMA, Dublin. The jury praised the timely and urgent quality of Cammock’s work which explores social histories through film, photography, print, text and performance. Creating layered narratives that allow for the cyclical nature of history to be revealed, The Long Note looks at the history and the role of women in the civil rights movement in Derry Londonderry. The work highlights how the complexities of the politics of Northern Ireland have overshadowed the social history of the region and the variety of political positions taken by women during that time.

OSCAR MURILLO

For his participation in the 10th Berlin Biennale, his solo exhibition Violent Amnesia at Kettle’s Yard, Cambridge and solo exhibition at the chi K11 art museum Shanghai. The jury particularly praised the way Murillo pushes the boundaries of materials, particularly in his paintings. His work incorporates a variety of techniques and media including painting, drawing, performance, sculpture and sound, often using recycled materials and fragments from his studio. Murillo’s work reflects on his own experience of displacement and the social fallout of globalisation.

TAI SHANI

For her participation in Glasgow International 2018, solo exhibition DC: Semiramis at The Tetley, Leeds and participation in Still I Rise: Feminisms, Gender, Resistance at Nottingham Contemporary and the De Le Warr Pavilion, Bexhill-on-Sea. The jury noted the compelling nature of Shani’s ongoing project Dark Continent, particularly the work’s ability to combine historical texts with contemporary references and issues. Developed over four years, it takes inspiration from a 15th century feminist text, Christine de Pizan’s The Book of the City of Ladies. Shani uses theatrical installations, performances and films to create her own allegorical city of women populated by fantastical characters, transporting the viewer to another time and place.

The work of the four shortlisted artists will feature in the exhibition at Turner Contemporary and the winner will be announced at a major awards ceremony on 3 December 2019 live on the BBC, the broadcast partner for the Turner Prize.

With a 1hr 27m high speed train link from London St Pancras to Margate, Turner Contemporary is closer to the capital than any previous Turner Prize venue outside of London.

Entry to Turner Prize 2019 will be free.

The Turner Prize is named after J.M.W. Turner (1775-1851) who was an innovative and controversial artist in his day, is now seen as one of the greatest British artists, and expressed a wish to establish a prize for young artists. Turner Contemporary is named after the artist for similar reasons; our work is inspired by Turner’s innovative and radical approach to art.

The members of the Turner Prize 2019 jury are Alessio Antoniolli, Director, Gasworks & Triangle Network; Elvira Dyangani Ose, Director of The Showroom Gallery and Lecturer in Visual Cultures at Goldsmiths; Victoria Pomery, Director, Turner Contemporary, Margate and Charlie Porter, writer. The jury is chaired by Alex Farquharson, Director of Tate Britain.

Turner Prize 2019 is supported by BNP Paribas and Canterbury Christ Church University, with additional funding from Kent County Council.

Salma Tuqan, deputy director of Delfina Foundation brings together some amazing minds for a series of talks for ART-O-RAMA (31st Aug, 1st sep) & Contemporary Istanbul (12th sep) around the concept of The Mediterranean as a mindset
We are honored to be part of the Contemporary Istanbul series:
‘Agricultural entanglements’ Contemporary Istanbul ??
Thurs 12 September, 12:00-12:45‬
Sveva D’Antonio, Director of Collezione Taurisano leads a conversation between architect and researcher Andrea Bagnato and artist Jumana Manna on the landscape transformation of the Mediterranean following technopolitical experiments, including policies of land draining, synthetic insecticides and engineered seed harvests. The discussion explores how, as a result, the Mediterranean can be an ideal site to understand modernity – from the US-funded DDT spraying in Egypt, to networks of seed archiving in the aftermath of the Syrian Revolution and yet, how the land can propose opportunities for the revival of dismissed forms of knowledge.